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Title : The Manifesto of the new "sure-realism"
Category : Painting and Art
Summary of THE MANIFESTO OF SURE-REALISM "Mixing the sensitive to the intelligible" FOREWORD Like in life process, art is preceded by genesis and gestation periods. The appearance of new forms is likened to encounters, mixtures, sometimes even "hodgepodg ", giving birth to creations bearing unpredictable, unique and singular images, productions that look like only the changing appearances of time and space. There is no repetition or ersatz, nor imitation or reproduction, but rather births with countless shapes and colours, varying according to times, places, cultures and personal imaginary, images made in many circumstances. From ancient times to the present day, painters have often sought to represent stories, reproduce scenes and paint stories that had a direct bearing on time, and posings that showed a double dimension: not only at the temporal level relating to capture time but also at the level of space through layout and postures of objects and characters represented. The message exposure refers to a time sequence, in other words, it is "a time deposit in space". Formerly, the true painter of history would be, according to "Gustave Courbet", leader of the French realist movement (1819-1877), the one who would focus only on his immediate environment around him to paint the present and the habits of society, works that are related and situated in time, it is expressing an event, a story in its temporal unfolding. Leon Battista Alberti (1404 - 1472), the famous theoretician of arts, stated in his treatise of aesthetic reflection treatise on "De pictura" painting, that the biggest problem for a painter is not to paint a colossus, but a story (historia). The story for Alberti first means simply a narrative which is intrinsically linked to the technique of representation that he describes and theorizes, where perspective, time and space are associated through the Albertian theory of history. What's going on with Alberti, story painting or perspective? The story will always be narrating what will remain in the memory, but the means to achieve that differ. We no longer seek to associate images and places, but to affect. Put literally, we try to set in motion the listener’s soul, adding value to movement. So, the static system image-place no longer works. Instead, the passage from one place to another, gesture and body movement will take place. Narrating the story is shown through gestures and bodies. The perspective space allows for it in painting: it shows a scene that different characters share, according to relations that no longer stick to hierarchy, but rather according to the convenience of each one of them with regard to the story being told. The sure-realism : Historical extension? Since prehistoric painting the pictorial image has been directed in multiple directions through the exploration of different dimensions. At first, the painting was characterized by its bi-dimensional representations and a rigorous frontality. With the renaissance, in the 14th century, painters such as Leonardo Di Vinci, Michelangelo or Raphael brought painting to its third dimension. The physical discoveries of Albert Einstein at the beginning of the last century consider that the fourth dimension is not only a spatial dimension but also a temporal one, time is a dimension. This mathematical concept of the fourth dimension has also been popularized in art and artists have become so cerebral enough to want to suggest it on a flat canvas (cubism). Contemporary productions seem to be able to go beyond all limits: To look, to observe, to examine the dimensions differently and to express them differently. The contemporary metamorphoses of the suggested space have been expressed in the virtual art of the 2000s, such as pictorial Synthetism or the current digital art, these new experiences have led the relationship between the dimensions of space to the limits of the unimaginable. With digital means, many attempts are planetary, the space is virtual and knows no borders, it is tenfold. However, I realized the possibility of being able to distance this fourth speed to go beyond the infinite and to sing my joy of wandering in an " Umpteenth Dimension". One dimension that is reflected through the dimensional infinity of the imaginary that we possess is the "infinite variable" of human consciousness, this dimension allows us to travel through time and space to join the past to the future through the present, this dimension offers us an analytical and panoramic view of the whole and allows us to examine and dominate all situations through its multiple forms and different angles of view to be able to transform them into synergy spatial and temporal without limits. Today, with regard to the question of temporality and its relation to the artistic work, I am rather interested in the opportunities to expand and increase the fields of analysis and vision of time and space being the core data of human perception, as well as multiply times and spaces as stories related to the technique of representation and plan construction. Being aware of re-establishing the bonds between the present and the past, joining distant or different spaces, connecting the number of "pairs of opposites" that coexist in us and in the universe, I took the liberty to develop the image of the temporal to sneak into another timeless dimension, a way to mix the sensible to the intelligible. This is a new space-time and analytical approach that could develop our perception habits which are too narrow and limited in time and space, innovate a new plastic writing capable of producing new results, understanding diversity, bringing together the opposites to reunite inconsistencies. The sure-realism : Sneaking into Timeless ? To better understand diversity, it was necessary to start gathering opposites to be able to bring together inconsistencies, agree on mixing the different human attitudes functioning, expand our fields of viewing things in time and space beyond the present moment. , connect historical elements, old wisdoms with modern practices to produce a new result. To carry out this experiment, it is necessary to equip oneself with a more retrospective and more extensive panoramic perception, which does not concern the present in its immediate environment, which is no only the certainty reduced to sensation and which it is not a mere contact with the outside world, but one perception that projects itself in the continuity of space and time with the discursive faculties of the mind and the power of a thought that is both intuitive and rational, one perception capable of mixing sensibility with understanding and imagination. It is a new approach whose creative inspiration foundation will allow us to create new relationships between the various forms considered disparate or opposed by nature, which will open up the possibilities to innovate a plastic writing that can handle all styles, harmonize all differences and therefore democratize the same pictorial space. This is the first manifesto of a new "sure-realism". This new approach is able to pile up trends and develop our too tight or limited perceptions habits in time and space, it provides us with the means to express the historical heritage, harmonize the cultural diversity and therefore blur the boundaries between fantasy and reality of the present moment for a richer and deeper visibility. This is a new synthesis of human, social and cultural diversity. The sure-realism : A new linguistic innovation ? At the level of linguistic description, the expression of this new concept of "sure - realism" rests on the choice to import a link between two elements: - First, the adjective "sure" is to signify and express something in which one can trust, on whom one can count, but also to say something with certainty, to be convinced of the truth, of the accuracy, the realization of something. -Second, the term "realism", is to design this ability of observation, analysis and expression of reality with the pragmatic sense. Artistically, it refers to the artistic and literary movement appeared around 1850 in France, with pictorial creations that address the themes of the contemporary world (social, racial, religious, historical ...) and who is interested in things, people and situations. The two elements form the couple "sure- realism", a new composite word (neology), which has only a purely auditory connotation with the artistic movement of "surrealism". The "sure-realism" would therefore be a term that expresses a certain reality, more extended in time and space, by which it is proposed to engage in deeper and more comprehensive thematic analyzes to conceive of artistic or literary productions capable to project the synergy of the antagonists. It is the actual functioning of a combination between the sensible and the intelligible. The sure-realism, a new style, a technique? Plastically, the umpteenth dimension allowed the mixing of different styles, the assembly of several sources, the multiplication of a variety of shots, the creation of spatial and temporal fragments and the mating of a variety of techniques. It involves seeing from far and wide, dominating space and time, developing the fundamental data of human perception, adding narratives related to technique and the composition of space, rhythm, colors and especially the way of building, it is about offering the possibilities to gather the distant, the incoherent ones and to harmonize the opposites and to offer a broad and eternal ballad in the infinite dimension. Based on these studies and observations, I developed a new style. My paintings represent a personal vocabulary, a cocktail of realism, surrealism, expressionism, impressionism and sometimes even abstract obsessions as expressed in "Emotional Energy", a mixture that is based on joining several sources, multiplying plans and creating spatial fragments, hence the search for a creative cooperation between the various plastic components of the pictorial space, a mixture of styles, animated by the presence of an abstract language freed from the representation of reality that goes alongside with another impressionist language able to go deeply in the reality and move towards an autonomy of colours, the whole is mixed with a wide range of colours which gives birth to optical mixtures seeking a figurative representation joined to an expressionist chromatic scale. I paint with oil, coupling a variety of techniques revealing dynamic transitions: between the traditional technique, on the one hand, with mixed colours on the palette with its typical brushstrokes, and on the other hand, the technique of optical mixing with pure colours, juxtaposed directly on the backdrop of the canvas reflecting the light of the Impressionists, the whole is successive layers of the abstract and to the nervousness of the expressionist touch. All ingredients of the material should be redesigned, interpreted and well directed to become more productive. The sure-realism: A new thought ? Since the end of the 19th century, artistic movements had succeeded one another and each new movement claimed to innovate. Postmodernism has ended with novelty, the notion of postmodern art implies the idea of breaking with the recent past by erasing time and space to make all culture immediately present, the past becomes a mere repertoire of forms. It was a reaction to the modernist theory and a rejection of the avant-gardes of the twentieth century, it is a replica against this historic linearity of art. Whereas art, like science, should continue its research without prejudices, without breaking. The new artistic experience I have developed is a reaction to the drift of the concept of postmodern art, the new “sure- realism” is in favor of an extension of the History of the Arts. Today, imperialism carried by cultural products (cinema, music, television, computer) or lifestyles (Western sports, Italian cuisine, Japanese) poses a challenge to thought and action; some see it as a risk of impoverishment of cultural diversity, even the domination of a certain conception of economic and social relations. The term universal civilization is in itself controversial. The sure-realism is a way of retaking history with a new look that is more extented in time and space, it is a way to trace the succession of universal cultural movements and to illuminate the areas that have remained obscure, technique of synthesis of a multicolored fabric often contrasted and sometimes contradictory, it is the art of reorganizing and harmonizing this beautiful human mosaic which must be perceived as a rich diversity to be valorized by an in-depth plastic research. As a thought, "sure-realism" is invoked to defend the legitimacy of cultural diversity, to challenge the cultural globalization that affects the socialization capacity of all existing cultures, to thwart the concomitant development of identity communitarianism based on a refusal of relativism and the affirmation of the superiority of one culture over the others, and finally, to live with dignity and stop the emergence of a common culture that threatens indigenous peoples . It is true that "sure-realism" is based on the principle of orchestrating diversity and harmonizing opposites, but it refuses to merge the opposites because merging two poles involves neutralizing their energy, resulting in a blurred and suspended identity. "Sure-realism" starts with preserving the path of its roots, keeping a certain uniqueness within a certain conception of diversity, it is a way to enrich the primordial identity in a coherence of the group, that is a harmonious cohabitation of differences. The sure-realism would thus be a cenacle that brings together the rationalism of Plato, Aristotle and Descartes with the romanticism of Schiller, Goethe, Novalis or Schlegel. It is an encounter between human reason and the expression of sensibility, it is the will to explore all the possibilities of art in order to mix: the infallible confidence in reasoning with the sublime mystery of the sensible, it is a space capable of assembling sentiment and reason. In the end, it is a matter of experimenting and plastically building up a certain theory of knowledge capable of mixing the sensible with the intelligible, reconciling all that is accessible to the senses, sensation and therefore to material reality with all that is accessible to intelligence, to the soul and therefore to what is spiritual. It is a question of analysing and expressing the world of sensitive appearances which are changing, elusive and in perpetual becoming, and joining it to the intelligible world, that of eternal and immutable ideas. The sure-realism, a new concept, a new movement? Under the name of sure-realism, I launch a new concept that I want to bear with integrity, authenticity and credibility. In doing so, he stands out from the surrealist movement of André Breton and invites to get into the heart of concrete and abstract things. Sure-realism would not be like the realism of the nineteenth century that is a mirror that reflects the reality as it is presented and not as it is in its fullness. The sure-realism claims to be able to go beyond the visible and make the facets that escape the mirror of Guy de Maupassant. It is the birth of a new contemporary artistic movement that defends the function of art as an instrument of knowledge. It's about giving proper importance to imagination and dreams beyond reason and logic in order to recreate and punctuate a new reality, giving it a new meaning and a new soul.Thus, the creation process could be free of all standardized forms because ultimately everything is relatively ephemeral,variable in time and space. Therefore, the artist must no longer stop at the stage of passive testimony acting as a standard or sacred optical reflection, and being often marked by a certain personal back-round, the artist should be free from any standardization. Of all times, the concept of standard has been the crucible of a philosophical dilemma, covering on the one hand the idea of what it is in reality, an empirically usual state, consistent with an average of the majority of cases, and on another, returning to an ideal of what must be, a model to be reproduced following particular principles. For some, the standard is simply a code of conduct and of conformity, for others it is a functional regularity which opposes irregularity and disorder, or which opposes the pathological and the morbid. The artist's mistrust in the "normalized" has the advantage of encouraging others to question the very foundations of standardization and shed light on the way how these rules interact and affect the fields of creativity. Enacting the art of standards according to a scientific methodology will turn artists into submissive beings; the artist should free himself from this standardization process, he should in no case become standardizer, it is his responsibility to set up a new archaeology of practices and knowledge in order to reveal new creation mechanisms previously analysed through former conceptual fields. Once edited, this Manifesto will mark the birth of a new contemporary artistic movement. A new artistic, space-time and analytical approach that could develop our too tight and limited habits of perceptions in time and space, innovating a new plastic writing capable of producing new aesthetic experiences. Mourad Elloumi « Beauty is an emotion and a movement of the mind that arouses the desire to understand » From Pictura by Leon Battista Alberti
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